San Quentin (Warner Bros. Pressbook, 1937)

RIOT RAGES IN
SAN QUENTIN

THE CAUSE. zw.

armful of darling dynamite
had to be tamed, to tame a
prisonful of fighting men!

PRISONERS ON STRIKE charge favor-

itism in road gang assignments! Get set for red-

blooded, hard-fisted action in Warner Bros.’ fast-
fighting thrill picture of life behind the walls of
‘San Quentin,” starring Pat O’Brien, Humphrey
Bogart, Ann Sheridan and Barton MacLane.

|
«insert theatre il

lace of this copy.

SO

AES EY EI SY LY EEO OY ME LIES SY INS NT

Fhe Story

Captain Stephen Jameson (Pat O’Brien) is ordered to San
Quentin prison as Captain of the Yard to replace the acting
captain, Druggin (Barton MacLane) a prison official of the
old school.

On the night before he starts his new job, Jameson goes to
a night club and falls in love with the blues singer, May
Kennedy (Ann Sheridan). Her brother, Red, (Humphrey
Bogart) has just been sentenced to San Quentin for robbery.
Because she is bitter about prisons, Jameson doesn’t tell her he
is the new captain of the yard.

From the first, Red has trouble. He gets into a fight and is
placed in solitary. When he gets out of solitary May is seen
giving him money, and is taken to Jameson’s office. Jameson
takes an interest in Red, persuades him to behave and to try
and rebuild his life.

Meanwhile Druggin, angered because Jameson has been made
yard captain over him, starts plotting. Learning that some pris-
oners are going to attempt to escape from the road gang, on
which Red has been placed, Druggin tells Red that Jameson
is being good to him because of his sister.

Druggin makes Red believe that Jameson is having an affair
with May. Red escapes and goes to May’s apartment. There
he finds Jameson and is going to shoot him but May tells her
brother she loves Jameson. Deeply ashamed, Red promises to
go back to prison of his own accord.

As he leaves the apartment, he is shot but gets away from the
police. He staggers up to the gates of San Quentin and dies just
after giving himself up.

ee Sa. a) see 6321 ft.

ee ie eee aE aR Daler ae Re 70 minutes

Cast of Characters

Capt. Stephen Jameson 25. 3.02 te ee PAT O'BRIEN
JOC REG!) Senne yy is Ge kee eee HUMPHREY BOGART
11 2 AE een ine hai UR tag Senet meme Sear nce eM e ANN SHERIDAN
TYG, PRU OU es iicanane ee Sore Se ea BARTON MacLANE
EEallOr BOY. .FLANSON” = 5006 5,c86 Nie eu eee JOSEPH SAWYER
E11 AY ne ata geet Ne nate mae Tae ie VEDA ANN BORG
Mickey’ Callanany 26.2 go a eer. tsapaee ee JAMES ROBBINS
Warden Taylor es Bo die Sheth aaa cane era JOSEPH KING
AGAIN a) aon Reeemte aes ene ATE Jaa ehdeae, (at ta GORDON OLIVER
sh D Xo} SN Gena ae Pips ioe nce he, RnR <i ar ER ee SEO GARRY OWEN
WOO tb eine: meee cm epiemtnre ner eeeienete - MARC LAWRENCE
MICUCOM ANG: |b cooiss ely ha leete eve os Mee eee a Ce EMMETT VOGAN
Of h Chin hey PUPAE Tt 2: Nm el A ge nn aR eR ay all tess WILLIAM PAWLEY
COn Cte nace untae te acer Clues sini s eceapasupete Code eats et ces AL HILL
PTISOU PUULMOT pene eae See Met hs ot oe ie Chaneaaad MAX WAGNER
WON Viet sia eee Ue ik wee no, aah ee ean GEORGE LLOYD
Tob boll dh oO to EP arse ena ere con AM Magh cao eae Sees ERNIE ADAMS

PPITOCCOT Hanis 2 haat et tan celeua: Sorttnhee entra ea means ...LLOYD BACON

oars MILNE

SCrOei Diwan Va Sots iiascl ces, Weis ales, aR as HUMPHREY COBB

ee ee Ge
Photoenanhy Dy. 36 eke neal ee ee SID HICKOX, A.S.C.
Pil. EVQUcOr: ioe er oN tec a ee eee WILLIAM HOLMES
AEE DITO CUOL sees cic lhat eae gee ena ESDRAS HARTLEY
Wirstcals DITOCTOM SO nics, etna cose Nee haere: LEO F. FORBSTEIN
COWS DY erie en a eet Weer A ae ta ved) cae HOWARD SHOUP

G; p p “ae B ° | | ° 7g.
Warner Bros. 40%
Pictures, Inc. present 5%
SAN QUENTIN 100%
with
Pat O’Brien and Humphrey Bogart — 85%
Ann Sheridan—Barton MacLane 40%
Directed by Lloyd Bacon 25%
A First National Picture 20%

Country of origin U. S. A. Copyright

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Action Picture!
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As long as prisons
| ses, ‘
have iron gates to keep the curi-
ous out (and the convicts in), so

long will there be a keen interest

| for ~ big- house “ action pictures.
Because of that fact, “San Quen-
tin’ is the biggest picture of its
_kind yet to be produced. We point
with pride to these 10 important
selling values:-

y

—

Names to emblazon in lights: PAT O'BRIEN, HUMPHREY
BOGART, pales MacLANE, ANN SHERIDAN.

mia

Directed by LLOYD BACON, maker of two-fisted pictures
like “Devil Dogs of the Air.”

¥
¥

Many scenes filmed on-the-spot in San Quentin Prison.
f

ad

‘
A campaign—complete and compact—planned for practical
use by showmen who like to get action with action pictures.

Full page Sunday feqture story. (see center spread).
Six-day picture story strip. (see page 12)..

\
Two pages of theatretekied stunts and displays.

(see photos on pages 8 and 9).

{

\
Variety of publicity stories and human-interest photos
ready for editors. (see pages 3, 4, 5 and 6).
y

Picture News Flash, art and type available in one
mat for your printing as tackicards. (ee front cover).
t
\,
10 Socko ads—19 to choose from _—in sizes to fit every budget.

= (see pages 13 through 18). '

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9 ST SS

1937 Vitagraph, Inc. All rights reserved. Copyright is waived to magazines and newspapers.

PAGE 3—"‘SAN QUENTIN’’—PUBLICITY

(Review )

“San Quentin”

Powerful Film

About as powerful a melodrama as the screens have reflected in a considerable period
is ‘‘San Quentin,’’ the First National production laid in and about the famous California
penitentiary, which had its first local showing yesterday before thrilled audiences at the

Strand Theatre.

Strong stuff! You couldn’t expect anything less in a story dealing with a couple of
thousand prisoners, their officer-guards, their warden—plus their hatreds, jealousies and

internal strifes.

And strong men to play it! Pat
O’Brien as Captain of the Yard.
Barton MacLane as the man
whose job he takes and who hates
him for it. Humphrey Bogart as
a desperate prisoner; Joseph Saw-
yer as another; Joseph King as
the Warden.

Breaks for freedom? Certainly!

Yet at the same time there runs
throughout the stern tale a nice
note of romance, with the lovely,
red-haired Ann Sheridan its in-
spiration.

Pat O’Brien is seen first as an
ex-Army captain appointed to
command of the prison yard in
the hope he ean, with square
dealing, maintain discipline,
which has slackened through the
old-school methods of MacLane,
who has been demoted.

Just before taking the job, Pat
goes to a night club and meets
Ann, a blues-singer. She doesn’t
know what he does. She’s bitter
about prisons because her brother,
Red—who is Humphrey Bogart—
has just been sentenced to San
Quentin. So Pat doesn’t reveal
his job.

Ann visits her brother. She is
seen passing money to him and
is summoned before the Captain.

The Captain has been good to
Red, really trying to straighten
him out. He puts Red on a road
gang.

Red and some others make a
successful break. What happens
then leads up to the powerful
climax of “San Quentin.”

O’Brien, Bogart, MacLane and
Miss Sheridan, the principals, are
outstandingly good in their char-
acterizations,

(Opening Day Story)

PAT O'BRIEN
STARRED IN
PRISON FILM

Those who like their movie-
men rugged and strong—plenty
good if they’re good and plenty
bad if they are so inclined—are
due for a treat today, when the
First National melodrama “San
Quentin” opens at the .........
Theatre.

On the good side the fans will
see Pat O’Brien, which ought to
be satisfactory enough. He’s the
Captain of the Yard in San Quen-
tin. On the bad side they’ll have
Humphrey Bogart and Joseph
Sawyer as a couple of tough pris-
oners, plus big Barton MacLane
as a crooked jail official.

But the picture isn’t altogether
masculine. For sweetness and light
there’s that lovely red-headed
leading woman, Ann Sheridan, as
a San Francisco night-elub singer
with whom Pat falls in love.

It’s far from being a gloomy
picture, preview observers de-
clare, in spite of the fact that a
lot of the action is behind the
walls of the ancient penitentiary
on the shore of San Francisco
Bay. There are no execution and
no death-house scenes.

Lloyd Bacon, a specialist in fast
action and thrills, directed “San

Quentin.”
Others in the cast besides those
“mentioned include Veda Ann

Borg, Joseph King, James Rob-
bins and Gordon Oliver.

(Lead-Off Story)

“San Quentin’ To
Open At Strand

With Pat O’Brien starred, and such excellent players as
Humphrey Bogart, Barton MacLane, Joseph Sawyer and

Ann Sheridan in supporting roles, the First National melo-
drama ‘‘San Quentin’’ has been scheduled as the next fea-

ture attraction at the Strand Théatre.

While the story is laid in and about the famous peniten-

Mat No. 306—30c

(Left to right)—Humphrey Bogart, Ann Sheridan and Pat O’Brien, in “San Quentin,” now playing
at the Strand Theatre, engage in a conference with Director Lloyd Bacon.

PUTTY HAIRCUT
FOR MR. BOGART

Willom Fieldz, make-up artist,
doesn’t need a pair of clippers to
give a man a haireut.

Every day that Humphrey Bo-
gart worked as a convict in “San
Quentin,” Fieldz cut the actor’s
hair with some putty and grease
paint.

It would have been easier to
shave Bogart’s head, but Hum-
phrey objected. He felt he
couldn’t go out at night with his
head shaved.

Thanks: to Fieldz, Bogart’s
hair was intact when he left the

Humphrey
Bogart

Mat No.

107—-10¢

studio. When he was in front of
the camera, playing a “fish” or
new convict in the prison picture,
he seemed to have a shaven head.
Watch for him in “San Quentin,”
whichcomes sto: thes. <0. 355%
Pheatre Ons s62 ee ati

The putty and the grease paint
made it look that way. It formed
a flesh-colored paste that, applied
with a brush, gave the head a
shaven appearance.

This is only one of Fieldz’s ac-
complishments. He is the man
who made Helen Hayes a dead
ringer for Queen Victoria in “Vice-
toria Regina.” Before the play
opened he spent four weeks teach-
ing her how to grow old.

HUGE SETS USED
IN PRODUCING
““SAN QUENTIN’

One of the biggest sets ever
built for a motion picture is the
prison set used for the First Na-
tional production, “San Quentin,”
in which Pat O’Brien and Hum-

phrey Bogart are starred and
which. comes ‘to the.......:....
SUGADRONON: 21:2 apes aie

Situated on a 30-acre ranch
across the Los Angeles river from
the studio, the setting, a repro-
duction of the yard at the famous
California penetentiary, covers
112,000 square feet.

A wall fifteen feet high sur-
rounds the prison yard. In the
background is a reproduction of
a portion of the prison. The set-
ting was designed by Esdras Hart-
ley, who spent two weeks at the
real San Quentin making sketches
before he drew up the plans.

In addition to the big set. re-
productions of portions of the
cell blocks were built on the
studio lot.

“San Quentin” is a melodra-
matic thriller which has for its
locale the famed old prison on the
shore of San Francisco Bay. Pat
O’Brien is starred as Captain of
the Yard. Humphrey Bogart and
Barton MacLane are featured as
the “menaces,” and lovely, red-
haired Ann Sheridan is the lead-
ing woman.

Lloyd Bacon directed the pie-
ture from a screen play by Peter
Milne and Humphrey Cobb, based
on a story by Robert Tasker and
John Bright.

BARTON MacLANE

ALWAYS A HEAVY

Barton MacLane, of the films,
is tired of being a meanie. He’s
tired of killing people with ma-
chine guns, knocking down old
men and picking on handsome
juveniles. Just onee, he would
like to play the man who makes
good and wins the girl.

Mr. MacLane doesn’t make
good or win the girl in “San Quen-
tin,’ the First National melo-
dramas éoming tor the-.-. .s-...-ve
Pheatee ene Rt. 4. ere tite ees
True, he is on the side of law
and order, playing a prison guard.

Barton
MacLane

Mat No. 108—10c

But his heart is as black as ever
and through the picture he does
his best to get Pat O’Brien into
trouble.

He keeps hoping that the ecast-
ing director will call him into
the office and tell him about a
nice part for a change. He dreams
of the day that individual will
say, “Bart, I’ve got just the part
for you. In this one you are a
pianist (or a violinist, saxophone
player) and you spend your time
making people happy.”

Mr. MaclLane’s heart isn’t
really black. He has several bro-
thers and sisters and not once has
he spoken harshly to them. But he
seems fated to be a “heavy.”

tiary that juts into San Francisco
Bay, it is not, the producers give
assurance, one of those sorrowful
movies about condemned men and
last hours and that sort of thing.

There is no execution, there is
nothing sobby about the picture.
It is enlivened by many scenes
taken “outside’—even by a San
Francisco night-club, where Miss
Sheridan is a singer who falls in
love with O’Brien, who is an ex-
Army officer just appointed to be
Captain of the Yard at San Quen-
tin.

It is simply a swiftly-moving
melodrama dealing with the pris-
oners, the lives they lead—some
good, some evil, even behind walls
— and the officers who guard
them.

Many of the scenes, it is said,
were made at San Quentin itself.
Others, done at the Warner stu-
dios, take place in settings copied
exactly from the original locale.

The prison “Yard,” wherein
much of the action takes place,
was reconstructed on an open
space near the studio which covers
112,000 square feet. of territory.

Naturally, as in all prison sto-
ries, there is a dash for freedom
by some of the prisoners, and
plenty of fighting and gunfire.
But those things really do hap-
pen in prisons, and the producers
say that “San Quentin’s” story
was fully approved by the offi-
cers of the institution.

Besides those named, the cast
includes such players as Veda
Ann Borg, Joseph King, James
Robbins, Gordon Oliver, Garry
Owen, Mare Lawrence and Max
Wagner.

HORSE OPERA
GAVE ACTRESS
MOVIE START

A great many film players look
with scorn on westerns, or “horse
operas.”

Ann Sheridan, red-headed star-
let, doesn’t. She got her start in
westerns. And she says that every
young actress should play in at
least three of them.

Miss Sheridan was graduated
from “horse operas” into feature
pictures. Her first was “Sing Me
A Love Song.” Then came “The
Great O’Malley.” Now she is play-
ing the feminine lead opposite
Pat O’Brien in “San Quentin,”
which comes to the
Theatre on ee 8 Rae

It was a “search for beauty”
contest that brought Miss Sheri-
dan to Hollywood from Texas. But
it was a western picture, made at
Paramount, that won her a econ-
tract with Warner Bros.

“T played in several westerns at
Paramount,” she says. “I found
out, when I made the first one,
that I didn’t know a thing about
acting. What little I know now, I
learned in “horse operas.” And I
also learned to work hard. They
make westerns so fast that you
can’t waste time.

Irene Dunne’s first great suc-
cess was in a glorified western—
“Cimarron.” Irene Hervey played
in “horse operas” for two years
before she became a dramatic
star. So did Jean Arthur. Marcia
Hunt, Frances Farmer and Gail
Patrick all got their first training
in westerns.

ELE!

PAGE 4—"SAN QUENTIN’’—PUBLICITY

Prison Break In
an Quentin’

There have been a good many prison breaks, by and large. Every once in a while a few
prisoners decide they don’t like the place and try to leave it. There have even been occa-
sions when they kidnaped the warden and a few guards and toured the country with them.

There is a break in the First National melodrama ‘‘San Quentin,’’ which will open at the

Strand Theatre tomorrow.

In the first script, the boys
planned to have Humphrey Bo-
gart and Joseph Sawyer kidnap
the ‘warden, put him in a hearse
and drive right out of the peni-
tentiary with him. This really
did happen not so very long ago.

However, it was decided that
the fans wouldn’t believe such a
thing could happen in a well-
regulated jail house, so another
escape was planned.

If a jailbird is lucky and
doesn’t get his careass filled with
lead, he can escape from prison
in a few minutes. Even with the
help of red-haired Veda Ann
Borg, it took Bogart and Sawyer
a week to make their break for
freedom.

Director Lloyd Bacon was quite
pleased that the two men finished
their escape in a week. In a prison
picture that’s considered excep-
tionally good time.

The first day of the escape was
given over to preliminaries. Bo-
gart and Sawyer filled wheelbar-
rows with earth while Barton
MaclLane, the guard, stood over
them and eracked his whip.

The second day Miss Borg, in
a big touring car, drove along the
road a few times.

The third day she had a flat
tire and Eddie Gargan, also a
guard, called Bogart and Sawyer
over to fix it for her. Miss Borg
had conveniently filled her tool
box with six shooters and the day
ended with the two convicts shov-
ing their rods into Gargan’s ribs
and taking his rifle away from
him.

On Thursday, the fourth day,
Bogart and Sawyer shoved Mac-
Lane in the car and started off
with him.

Next day the chase was filmed.
Every good escape, like every pic-
ture, has to have a chase in it—
the convicts tearing hell-bent
down the road with the minions
of the law at their heels.

Sawyer was not killed until the
sixth day. He and MacLane met
death simultaneously when the
touring car overturned in a ditch.
Bogart escaped, jumped on a
freight train and kept going. Miss
Borg had previously left the car
—on Thursday that was—and was
safe at home at the time.

Bogart had a rest on Sunday.
He came back on Monday and
finished his get-away to the apart-
ment of his sister, Ann Sheridan.
That finished the sequence. Later
he was riddled with bullets by
the cops but that scene was saved
for the end of the picture.

STAND-IN GETS
MOVIE “BREAK’

Hollywood success story — a
stand-in gets a break.

She is Sally Sage, who for three
years was stand-in for Bette
Davis, Warner Bros. film star.

When Miss Davis went abroad
last year, Sally lost her job. So
she became an extra, working in
“The Charge of the Light Bri-
gade.”

Max Arnow, casting director
for the studio, noticed Miss
Sage’s ability and gave her a
contract. She plays her first part
in “San Quentin,” that of a hat
check girl in a night club.

“San Quentin,” starring Pat
O’Brien and Humphrey Bogart
which is now showing at the
Strand Theatre.

Film Columnist
Is Interviewed

By HUMPHREY BOGART

She was sitting in Director Lloyd Bacon’s chair when I
first saw her.

She had on a blue hat and a blue suit and blue shoes and
there was a blue bag in her hand. I was in blue, too—blue
denim pants and a blue shirt with a number on it.

Mat No. 105—10¢
Pat O’Brien, has leading role in
“San, Quentin.”

DAUGHTER RESCUES
PAPA PAT O’BRIEN

Pat O’Brien’s little daughter,
Mavourneen, visited him on the
big prison set for “San Quentin”
at Warner Bros. studio. For an
hour she didn’t say a word.

Then came a scene between
O’Brien and Garry Owen in which
Owen tries to shoot the star. As
Owen swung a rifle around and
pointed it at O’Brien, Mavour-
neen yelled:

“Don’t you hurt my daddy!”

“San Quentin” will open at the
Strand Theatre.

STARLET IS CRACK
‘FEMININE’ BOWLER

Veda Ann Borg is one of Hol-
lywood’s outstanding women
bowlers. The young actress, bowls
an average of twenty games
weekly at the exclusive Beverly
Hills alleys. Her high score is
an excellent 227 and she aver-
ages around 160.

Veda now has an important
part in “San Quentin,” at the. .
eos cagrelee lume he See Theatre.

HOLLYWOOD NOW HAS
TWO PAT O’BRIENS

There are now two Pat O’Briens
in Hollywood. Recently at the
home of the star, his new baby
son was christened Patric Sean
O’Brien.

O’Brien, Sr., is now starring in
“San Quentin,” a First National
MUG ateaGhere ror ons, ss Theatre.

DUMMY IS FITTED
FOR ACTOR’S SUITS

Humphrey Bogart has all his
clothes made by a New York
tailor — but never goes near him.
The tailor, a few years ago, had
a form built to Humphrey’s meas-
ure and the actor can order a
suit by mail.

Bogart is currently one of the
villains in “San Quentin,” the
First National melodrama at the
Strand Theatre.

This photo montage shows some of
the interesting highlights and set-

tings in “San Quentin,

99

now show-

ing at the Strand. The center figure
is Humphrey Bogart, who plays the

villain.

Mat No. 307—30¢

Mat No. 106—10c¢
Ann Sheridan, currently featured
in “San Quentin.”

MOVIE ACTORS MAN
THE WHEELBARROWS

For the melodrama, “San Quen-
tin,” now playing at the........
Theatre, Director Lloyd Bacon
needed a country road that was
actually under construction.

Across the river from the stu-
dio a construction company was
building a new road.

In order to use the location,
the studio had to agree to re-
move aS many cubic yards of
earth a day as would be removed
by the regular workmen.

wAround us were the grey walls
of San Quentin prison. A flower
garden grew within the walls and
a lot of convicts were standing
around on the artificial grass wait-
ing for the camera to roll on a
scene for the picture “San Quen-
tine

“Vm Humphrey Bogart,” I said,
dropping into Pat O’Brien’s chair.
“Who are you?”

“T’m a film columnist,” she told
me.

I looked into her eyes. They
were blue and very sad. “What
makes your eyes so sad?” I asked.
You see, I know all the questions.

“Tm really not sad,” she re-
plied. “I’m really a very happy
person — only sometimes I can’t
help looking sad when I think
about life.”

That was fine. That’s just the
sort of answer I’ve been giving
for years.

“But you have everything,” I
persisted. “You have beauty — a
fine job — a pay check every
week — a nice place to live. Why
should life seem so sad to you?”

“There is also the spiritual side
of life,’ she answered, meditat-
ively. “A weekly pay check isn’t
everything.”

“T agree with you,” I said, mak-
ing a mental noté to be sure and
get mine before my wife did on
Wednesday.

“Married?” I asked.

She nodded. “To the most won-
derful man in the world.”

“Happy?”

“Divinely.” She rolled her eyes
and one of them seemed to be
black around the edges.

I remembered a good one. “Do
you value your career above your
home life?”

She said yes and no to that one.
Yes and no is a fine answer to
any question.

“But tell me. Did the gateman
ever fail to recognize you?”

“I just show him my press
card,” said the columnist.

“Are you superstitious?” I
asked.

She nodded.

“What of?”

“Whistling in the
room,” she replied.

I stood up. “Lady,” I said.
“Youre perfect. I couldn’t have
done better myself.”

A very bewildered young lady
got up and walked off the set, and
I think she made a mental note
to stick to interviewing feminine
stars from then on.

dressing

VEDA ANN BORG
DESIGNS FROCKS

Veda Ann Borg, red-haired
Warner Bros., starlet, who was
a famous model in Boston before
she came to Hollywood, designs
all her own clothes. She studied
designing under a famous cou-
turier in the east and was
planning a fashion career, when
a movie scout “discovered” her
and brought her to Hollywood.
She considers her fashion train-
ing an excellent foundation for a
dramatic career, because it helped
her to develop perfect poise.

Miss Borg is now playing in
“San Quentin,” a melodrama that
stars Pat O’Brien and comes to
the Strand Theatre tomorrow.

PAGE 5—‘‘SAN QUENTIN’’—PUBLICITY

MOVIE MAKERS
DIG UP SOME
JAIL HISTORY

A gale of wind put the famous
San Quentin penitentiary where
it now is on a rocky point in San
Francisco bay.

This curious bit of information
concerning the establishment of
California’s first penal institu-
tion was uncovered by the War-
ner Bros. research department,
which assembled data for Direc-
tor Lloyd Bacon, who guided the
making of the melodrama, “San
Quentin,” which comes to the..
TIP Rk Spt 5 Theatre oneve. 2.54
with Pat O’Brien, Humphrey Bo-
gart and Ann Sheridan in the
leading roles.

There was no prison in Cali-

fornia during the gold rush, the
research department learned. As
a matter of fact, none was need-
ed because the Vigilance Com-
mittee didn’t waste time putting
offenders in jail. Ropes were
cheaper and more effective. But
there came a time when a few
criminals remained and had to be
given a milder sentence.
- One of the state Senators
agreed to take upon himself the
responsibility of restraining and
employing these offenders for a
certain sum. He was to have the
benefit of their labor and to see
that they were properly housed,
fed and guarded.

‘He sublet this contract to a
man who gained notoriety in a
few years as the keeper of Mc-
Cauley’s gang. In common par-
lance, every offender who was not
killed was sent to McCauley’s
gang. And for safe keeping these
prisoners were lodged on a hulk
that had brought treasure-seek-
ers around Cape Horn and had
been abandoned in the bay.

In the beginning, the prison-
ers worked along the Sacramento
River. After a while the hulk was
moved down the bay and in a
gale of wind became unmanage-
able, drifted across the bay and
was grounded on San Quentin
Point.

Being unable to ge the vessel
afloat again, McCauley built a
barracks for his charges on the
Point. He was led to this step by
the fact that nearby there was
an abundance of brick-clay. This
prison remained under private
charge until 1856, when the state
purchased the whole establish-
ment from McCauley, and began
its enlargement.

PRISON LINGO
USED IN FILM

To the ordinary citizen, a clam
is something one puts in chowder
or eats raw with a drop of tabas-
co sauce. But to the men in San
Quentin prison, a clam is a suck-
er, a boob or a sap. ey

Director Lloyd Baegn found
this out when he was in the fam-
ous California penal institution
recently filming background
secénes for the First National pic-
ture “San Quentin,” starring Pat
O’Brien and now showing at the
Duy O53 Le ee eater

The director came back with
a dictionary of prison and crim-
inal slang. Here are some of the
terms in common use in the grey
pile of stone and steel on San
Francisco Bay:

SCREW ... not a device used

by carpenters, but a guard.

He is also referred to as a

key.

SACK DUST... the ‘mak-

ings.’ Cigarette tobacco.

FISH ... new prisoner.
SELV* 2. “alent es

BIG CRUSH prison
break.

SLEEP ... one year prison
term.

TOADSKIN ... paper money:
STIR... prison.

STIR BUGS ... prison crazy.
LIFE BOAT... a pardon.

IN THE SHADOW OF
DEATH — Humphrey Bo-
gart makes one last desper-
ate attempt to _ escape
prison in “San Quentin,”
the thrilling melodrama
coming to the Strand
Theatre.

‘Mat No. 209—206

HAS MOUSTACHE CUP
BUT NO MOUSTACHE

Humphrey Bogart, film player,
who is modern in every other re-
spect, is said to be the only man

BAD MEN REUNITED
IN ‘SAN QUENTIN’

Six years ago, Barton Mac-
Lane and Mare Lawrence, two
screen villains, played together

in Hollywood who sticks to an
old-fashioned moustache cup,
which he uses even when giving
a formal dinner. And he has no
moustache!

Bogart is now appearing in the
First National melodrama “San
Quentin,” at the Strand Theatre.

on the New York stage in “The
Tree.” Recently they worked to-
gether again — in the First Na-
tional production, “San Quentin,”
which is the current feature at
the Theatre. Mac-
Lane plays the part.of a brutal
prison official in the film, in which
Pat O’Brien is starred.

Pretty chorus girls
rest in between scenes
of a sequence in “San
Quentin” in which
they got their first
break in the movies.

(Right) Pat O’Brien
and red-headed Ann
Sheridan co-starring
in “San Quentin,”
coming to the___________-
Theatre. They have
already reached the
top rung on, the lad-
der of movie success.

Sereen villain No. 1
—Humphrey Bogart
scores a fresh _ tri-
umph in the intense-
ly dramatic role he
plays in “San Quen-
tin.”’ Many a man
would like to be in
his shoes.

Mat No. 304—39¢

How Would You Like To Be In Their Shoes?

You don’t have to resemble
Adonis to become a film star. A
finely chiseled profile helps, but
it isn’t necessary.

Charm, acting ability and per-
sonal magnetism are far more
important than masculine beauty,
film records prove.

Pat O’Brien is a nice looking
fellow. So is Humphrey Bogart.
But neither could be called an
Adonis. Pat, for instance, has a
broad, genial Irish face. He is
heavy set. Bogart is lean and
has a dark, sinister look about
him.

Both get by on their charm and
ability as actors. And women are
crazy about them. During the
filming of .“San Quentin,” the
First National melodrama now at
POM a er eres Theatre, they
received hundreds of missives
from feminine admirers.

Leslie Howard is a slight, frail
fellow with a wistful, lost look.
There is nothing of the Greek
God about him. Yet he has the fe-
male fans at his feet.

There are dozens of others who
wouldn’t win male beauty con-
tests — Charles Laughton, Paul
Muni, James Cagney, William
Powell, Edward G. Robinson, Joe
E. Brown and Claude Rains,

‘Pretty Boy
Type Is Passe

among others. Yet all of. them
are terrifically popular — not
only with men but with women.

Casting directors are begin-
ning to realize that it is ability
more than looks that counts and
among the new crop of actors
there are few who could be called
downright handsome.
~ The easting officials, however,
like to get a combination of looks
and ability. That’s why Errol
Flynn, Patrie Knowles, George
Brent, Dick Powell, Clark Gable,
Gary Cooper, and Robert Taylor
are so popular around the studios.
Yet, the studios know that it is
the ability and charm of these
players more than their looks that
swells their fan mail.

“San Quentin” is a melodram-
atie thriller which has for its lo-
eale the famed old prison on the
shore of San Francisco Bay. Pat.
O’Brien is starred as Captain of
the Yard. Humphrey Bogart and
Barton MacLane are featured as
the “menaces,”. and. lovely, red-
haired Ann Sheridan is.the lead-
ing woman. | ; Te ag

Lloyd Bacon: directed the.-pic-.
ture from a screen play by Peter
Milne and Humphrey..Cobb, based.
on a story by Robert Tasker and.
John Bright. Sy oe

TOUGH GUY HAS
‘SISSY’ HOBBY

His hobby should be collect-
ing grave-stones, machine guns
or death-house statistics. A man
so tough he eats cord wood as a
breakfast cereal ought to have
sereen character.

But he doesn’t.

Barton MacLane, the meanest
mean guy on the screen, fools
you.

His hobby is raising carrots.

Recently, he has been very busy
in “San Quentin,” the First Na-
tional melodrama that stars Pat
O’Brien and is now current at
the Strand Theatre.

But whenever he got a couple
of hours off, he headed straight
for is earrot patch.

Last year, Barton raised a
prize carrot that weighed 2
pounds and he is out to break
his own record this year.

PAT O'BRIEN IS
A REGULAR GUY

Like all film stars, Pat O’Brien
has a chair with his name on it.

But, Pat’s different. He seldom
sits in his chair. It is usually oc-
cupied by one of the sound men,
or a grip, or a make-up man.

And though O’Brien has a dress-
ing room on the set, it really
isn’t his. Visit any stage he’s
working on—the last one being
that on which was made “San
Quentin,” now showing at the
ae ae Theatre, and take a
peek into Pat’s dressing room.

You may find Pat in it. And if
he’s there, you’ll find half a dozen
other fellows. If he’s working, his
dressing room will be bulging
with men. Everyone is welcome.
And during a baseball game or a
football game or a_ horse-race,
anyone can sit in Pat’s car and
listen to the radio.

Pat welcomes these invasions
of his privacy. He likes company
— particularly company that will
talk about horses, football, base-
ball and fights. Those are favorite
topics of conversation wherever
hevis; %

Slip up behind O’Brien and Di-
rector Lloyd Bacon while they
wait for the cameraman to get
ready fro the next scene. Ten to
one this is what you’ll overhear:

Pat: “That guy can’t fight .a.
lick. He’s terrible.”

“San Quentin” is a melodra-
matic thriller which has for its
locale the famed old prison on
the shore of San Francisco Bay.
Pat is starred as Captain of the
Yard.

SCREEN MADMAN WAS
POWDER-PUFF MAKER

Garry Owen is an expert
at playing madmen. He played
a crash-crazy aviator in “Ceil-
ing Zero,” and in “San Quen-
tin,” which comes to the....

Theatre, on

plays a mad prisoner who tries
to shoot his way out of jail.
All in all, he’s a pretty scary
personality on the screen.

Owen’s former occupation—
before entering the movies—
was manufacturing powder
puffs! ,

PAGE o—"‘SAN QUENTIN’—PUBLICITY

By BLAKE McVEIGH

This writer took a visitor out
with him a while ago to watch
a few scenes made at Warner
Bros. studio for the big prison
picture, “San Quentin.”

Now this visitor was no cream
puff. In fact, he had served an
apprenticeship in living the hard
way — lumber camps, working
as a longshoreman, a stretch or

No Sissy Actors
In San Quentin’

two as a custodian of good man-
ners in very ungenteel dance
halls, and many spells as a pri-
vate detective, which job had
brought him plenty of bruises in
his work as a strike breaker.

Well, when this aforesaid visit-
or saw them doing an exciting
prison break scene for “San Quen-
tin,” which comes to the.......
Theatre: oneness a » he was
amazed.

Mat No. 208—20¢

Pat O’Brien and Ann Sheridan in a romantic scene from the First
National production “San Quentin,” which comes to the Strand

Theatre tomorrow.

“T always thought,” said he,
“that these movie actors were a
buneh of softies. But these guys
look like the real MeCoy. On the
level, are they actors?”

He was assured that they were
indeed. In fact, he was intro-
duced to a few of them — Hum-
phrey Bogart, Pat O’Brien, Bar-
ton MacLane, Joseph Sawyer and
James Robbins.

“’d never have believed they
were actors,” he said. “They look
like guys who could take eare
of themselves in an argument.”

“They could, too, Mister,”
O’Brien told him.

“MacLane was quite a foot-
ball player at Wesleyan. He’s
as strong as a bull and just as
fearless. He worked one summer
as a bouncer at a big dance hall
up near Boston, where the pat-
rons didn’t like bouncers over-
much. Bogart’s well educated,
but he’s no softie. He was in the
Navy as a kid, and he’s not apt
to seare easily.

“See that young chap over
there? His name’s James Rob-
bins. He won the welterweight
championship of New Jersey,
amateur, before he became an
actor. He used to deliver news-
papers before that, and the lad
who do that are no lillies.

“That husky fellow over there
is Joseph Sawyer. He plays Sail-
or Boy Hansen, a very tough con-
vict. Well, Joe’s an awfully nice
chap, but if I were in a jam he’s
one guy I’d like to have around
me. He used to be a backfield
man at the University of Cali-
fornia.”

O’Brien also was a_ football
star, I told the agog visitor, at
Marquette University.

“Youre a fighter, too, ain’t
you?” my companion asked. “I
saw you as a fighter in a pic-
ture, I forget the name of it, and
you looked pretty good.”

O’Brien nodded. “That yas
‘The Personality Kid’ He mnt
on:

“Lots of people have the wrong
conception of actors. They think
that because they act for a liv-
ing they must necessarily be
soft. Well, actors can’t be that
way in the movies, even if they
wanted to.”

The visitor was much impressed.
“I’m going to watch out for those
guys’ movies from now on,” he
said. “And I’ll be a lot more ecare-
ful what I say about movie actors
being a sissy bunch. I think any
of these fellows here could make
me swallow the words if they
heard me call them sissies. And
by the way, how do you go about
getting a job in one of thege
movie outfits?”

“San Quentin” is a melodram-
atic thriller which has for its
locale the famed old prison on
the shore of San Francisco Bay.
Pat O’Brien is starred as Cap-
tain of the Yard. Humphrey Bo-
gart and Barton MacLane are
featured as the “menaces,” and
lovely, red-haired Ann Sheridan
is the leading woman.

Lloyd Bacon directed the pie-
ture from a screen play by Peter
Milne and Humphrey Cobb, based
on a story by Robert Tasker and
John Bright.

PUT BEARDS ON
FILM KIDS SAYS
LLOYD BACON

All young movie actors should
hide behind beards when they are
starting their careers, according
to Director Lloyd Bacon. The
beards should be long white ones
that completely disguise their
wearers.

And if beards didn’t look out
of place on young actresses,
Bacon would suggest that they
also wear them.

What Bacon, who directed the
First National production, “San
Quentin” means, is that young
players should start out by por-
traying old men and women.

“Young men and women in
their tens and early twenties are
self-conscious,” Bacon says. “Hide
them behind a beard and because
they can’t be recognized they lose
their self-consciousness.”

As an example, Bacon holds
up Paul Muni. When he was a
12-year-old, Muni was playing old
men. He didn’t shed his beard un-
til he had had years of experi-
ence,

Mary Phillips, Humphrey Bo-
gart’s wife, made her first real
success on the stage playing an
old woman, Bacon points out. She
was very young at the time and
was still self-conscious. With her
true self disguised by make-up,
she really acted.

Bacon says that all young men
and women are actors and act-
resses. The ones who succeed are
the ones who forget themselves.
And the easiest way to make them
do that is to use the whiskers,
he says.

In the case of young feminine
stars, where a beard would hardly
be feasible, Bacon thinks that

character make-up is the solution.

He admits, however, that there
are some youngsters now playing
in films who are so lacking in
self-consciousness that no such
precautions are necessary. For ex-
ample he cites the Mauch twins,
Billy and Bobby, who recently
scored such a triumph in “The
Prince and the Pauper.”

“San Quentin,” now showing
Atetne- te oe: Theatre, is
a melodramatic thriller which has
for its locale the famed old pris-
on on the shore of San Francisco
Bay. Pat O’Brien is starred as
Captain of the Yard. Humphrey
Bogart and Barton Maclane are
featured as the “menaces,” and
lovely, red-haired Ann Sheridan
is the leading woman.

Bacon directed the picture from
a screen play by Peter Milne
and Humphrey Cobb, based on a
story by Robert Tasker and John
Bright.

O'Brien Mistaken
For His Namesake

Pat O’Brien has never been
mistaken for Erin O’Brien-Moore.
He expects to be some day, even
though Miss O’Brien-Moore
doesn’t look at all like him.

Fans are always taking him for
someone else. Usually they think
he is George O’Brien. Once a
woman decided he was Ted Hea-
ley and told him how funny she
thought he was.

Pat doesn’t mind. If you had
gone out on the “San Quentin”
set and called him Frank Mce-
Hugh he’d have grinned at you
and thanked you for “the new
billing.” He’s starring now in
“San Quentin,” the current fea-
ture attraction at the..........
Theatre.

But sometimes he says his
vanity is hurt a little. Like the
time he was on the Santa Fe Chief
enroute to Chicago. From the
moment the train started, the
porter almost broke his neck at-
tending to Pat’s wants. He
couldn’t do enough for the actor.

“I began to think I was an im-
portant fellow,” Pat says. “I had
a five dollar bill all ready for
him when we reached Chicago.
I handed it to him and he smiled
happily. ‘Mr. O’Brien,’ he said, ‘I
think you are about the best actor
in the world. You ean ride a
horse better than any man I ever
did see.

‘And you sure look like your
pappy. I used to see a lot of him
around San Franciseo when he
was chief of police. He was a
fine man and yow’re a fine son,
Mr. O’Brien,’ “I didn’t tell him
I was Pat, not George, whose
Dad was the famous police chief,”

Another time, Pat dropped in-
to a cafe for a glass of lemon-
ade. At the soda fountain was
4 member of the Warner Bros.
publicity department and an out-
of-town newspaper woman,

“This is Mr. O’Brien,” said the
publicity man,

“The newspaper woman beam-
ed. “How’s your lovely wife?”
she asked.

“Fine,” said Pat. “She’s in New
York now buying elothes for
her shop.”

“She has a shop?” asked the
newspaper woman.

“Oh yes,” said Pat.

“Then she isn’t in pictures any
more?”

“She never was,” said Pat. “She
was on the stage, but not in pie-
tures.

“T saw her in one just the

Mat No. 305—30¢

RIOT IN SAN QUENTIN!—Pat O’Brien, as the Captain of the Yard tries to quell the furious mob of
convicts in the thrilling prison melodrama “San Quentin,” now playing at the Strand Theatre.

other day,” said the newspaper
woman.

Pat saw the light. “You mean
Marguerite Churchill, don’t you?”

The newspaper woman said she
did. And she added that she
thought Mr. O’Brien rode a horse
very well,

“Pat sometimes goes out with
George O’Brien. They were at a
football game last season and as
they came through the crowd a
girl rushed up with an autograph
book. “Will you sign this Mr.
O’Brien,” the girl said.

“We almost broke our arms
reaching for the book,” Pat ex-
plained.

Mrs. O’Brien tells a story that
tops any of Pat’s. After “China
Clipper” was completed, Pat, the
late Ross Alexander and Hum-
phrey Bogart were on a radio
program together.

Mrs. O’Brien attended and sat
outside the broadcasting booth.
As she sat there, Ross came up,
perched on the arm of her chair
and talked to her for awhile.
When he went into the booth, an
old lady next to Mrs. O’Brien
leaned over.

“T like your boy friend,” she
said. “He’s a fine actor.”

The old lady looked through
the glass at Mr. O’Brien, Mr.
Bogart and Mr. Alexander. “But,”
she added, “I don’t see how any-
one can stand that Pat O’Brien.
He is about the worst actor I
ever saw.”

Nevertheless, Pat has thousands
of fans of his own. They don’t
think he’s anybody but their own
adored Pat. Most of his feminine
fans, for instance, think that he
would make the ideal husband.
“T don’t know whether or not
you’re married,” a New York girl
recently wrote him, “but if you’re
not, I’d like to put in my appli-
cation right now. I think the girl
who marries you would be the
luckiest girl in the world.” Pat’s
happily married, however.

During a recent birthday, Pat’s
popularity was pretty well proven.
He received 22 baskets and bowls
of flowers, 6 baskets of assorted
wines, 54 pipes, 9 blackthorn
sticks, 6 clocks, 32 books, includ-
ing some valuable first editions,
30 neckties, 6 pairs of pajamas,
2 bathrobes, 14 pairs of socks,
and 3 sweaters, besides hundreds
of telegrams, letters, and four
cablegrams from foreign fans,
One of his most valued gifts, how-
ever, came from a little girl who
lives next door to him in Holly-
wood. It was a two-day old white
kitten, with a big blue bow tied
around his neck.

Pat is an exception from the
old proverb “A prophet is without
honor in his own home,” for he’s
as popular with the Hollywood
folks as he is with the movie go-
ing public in other parts of the
world. The technical crews who
work on his pictures, the trades-
people and the neighbors all rate
Pat aces-high, as a good friend as
well as a favorite actor. That’s
because there’s not a trace of
snobbery or uppishness about this
genial Irish star. Success has not
affected the generous, warm-
hearted Pat, and that’s why he’s
a favorite all over the world.

“San Quentin” is a melodra-
matic thriller which has for its
locale the famed old prison on
the shore of San Francisco Bay.
Pat O’Brien is starred as Captain
of the Yard. Humphrey Bogart
and Barton MacLane are featured
as the “menaces,” and lovely, red-
haired Ann Sheridan is the lead-
ing woman,

Lloyd Bacon directed the pic-
ture from a screen play by Peter
Milne and Humphrey Cobb, based
on a story by Robert Tasker and
John Bright.

PAGE 7—‘‘SAN QUENTIN’’—EXPLOITATION

EXPLOITATION STARTS HERE

PUUEUUOUEQUOUOUUERUEGREDEOUOQECHEGOGHORE CRORE GEODEGEOGHOREDEORECEOUEGHOQECRDHOROTHOREPRODEQROQEGHOS2992° COUTPEQECUEGUOQUGUOQHOUOGHOQEGUOUEOROQEODEGHOGUGUOGHOROGUOQSONECHOUHGUOQUONOGHOQEOREQHOQOQHODOGHOQUONODHODOUEQHOQHOQOQHORNGHOOHOUEOUOQHOUE

EXTRA! EXTRA!

Surprint front pages of
newspapers with bold
block letters. Hook up
with your inside ad or an-
nouncement. Copy might
be: “Riot Rages in ‘San
Quentin’ ’’ — (in smaller
type) “for further particu-
lars see ‘San Quentin,’ at
the Strand.”’

AT POST

Mount machine guns on
top of marquee. Guns
might be secured from
army post, American Le-
gion or National Guard
unit. If possible erect run-
way around the inside of
marquee — a blue uni-
formed guard patrols.
Have giant flood-light fo-
cused on stunt at night.

CALOX TIE-UP

Calox is devoting time on
their coast to coast broad-
cast over WEAF network
to mention this picture.
If the Calox program is
carried on your local sta-
tion, try to effect tie-in of
your showing.

PRISON MADE

Novel lobby display could
be arranged by using vari-
ous articles manufactured
in state prisons. Surround
exhibit with leg-irons,

handcuffs, etc., stills from.

picture and ad copy.

PLAY THESE
VITAPHONE HITS

“PORKY’S BUILDING” (Looney
Tunes) Porky at his funniest in a
fast-moving round of grand com-
edy entertainment!

(7 minutes—No. 2811)
““NEWSBOYS NOCTURNE’’
(Broadway Brevity) An outstand-
ing two-reel subject with Lane-
Tree-Edwards, Tommy Rafferty,
Evelyn Poe, Jean Travers, Bemis
Twins and Jack Powell.

(20 minutes—No. 2034)
“PICTORIAL REVIEW No. 12”
(Pictorial Revues) A load of hu-
man interest material including
some shots of a child golfer, the
manufacture of pianos, and Dean
Cornwall, the artist. Narrated by
Howard Claney.

(10 minutes—No. 2412)
“CUT OUT FOR LOVE” (Broad-
way Brevities) A swell all-around
subject featuring Dorothy Dare
and Donald Novis.

(20 minutes—No. 2035)
“DAVID MENDOZA” (Melody
Master) One of the greatest name
bands in the world with Lucille
Manners, The Revelers, Robert
Simmons, Miner and Root.

(10 minutes—No. 2518)
“SWEET SIOUX” (Merrie Melody,
Tech.) “The Indians are coming.”’
A grand frontier frolic in gorgeous
color!

(7 minutes—No. 2213)

O COVER THE TOWN

CASH One glance at the cover of this
FS | press book will convince you that
Le IN it is just the thing for lobby, win-
1 dow and front display. Also as
broadsides, tack cards or newspaper
insert. Ample space provided for
theatre imprint and playdates. Mat
of entire page including heading,
art and type available at special
price—50c—Mat No. 501.

Order from Campaign Plan Editor,
321 W. 44th Street, N. Y. C.

LEST THESE CONVICT
STUNTS ESCAPE YOU

Dummy dressed as cop and another dressed as convict strug-
gle on roof of building. Convict ‘‘throws’’ cop off building.
As dummy falls it unfolds banner advertising picture and
theatre. Be sure to notify local police of your intention or
you may buck local ordinances.

Have “guard” chase ‘‘convict’’ through streets. Sign on con-
vict’s back reads: ‘‘I’d break jail any day to see ‘San Quentin’
at the Strand Theatre.’’

PRISON ATMOSPHERE IN LOBBY

Arrange an exhibit of guns, handcuffs, chains, leg arms, and
other mementoes to attract attention.

Display tin tableware used in prison mess halls.

Display straight jackets and convict uniforms. Dress attend-
ant as guard with rifle in hand.

Construct miniature cell in lobby. Inside place dummy in
convict clothes seated on cot. At door place another dummy
dressed as guard with keys in his hand. Sign over cell reads:
“ "San Quentin’ is one picture which you won’t want to escape
seeing.”’

Display photos of notorious criminals and place in your lobby.
Also ‘‘wanted”’ posters of criminals at large.

CIVIC ACTIVITIES

Arrange a public debate on the parole system. Topic can be
debated on radio between local lawyers and judges. The idea
is also adaptable to newspaper use. Award prizes for best es-
says on the subject.

Contact your local jail and arrange to have warden discuss
various prison problems. This can be done from stage of thea-
tre, through newspaper, or radio station.

Be sure to contact lawyers, judges, and police officials. Get
their reaction to picture and make blow-up of their comments
for lobby display.

SA

TUNE-UP WITH SONG IN PICTURE

“How Could You?’ re-
cently selected as No. | on
the “Hit Parade’ is the
song hit featured in “San
Quentin.’ Get your local
music dealers to display
this title page prominently
in their windows and on
counters. Furnish them
with plenty of stills and
poster material. Title
pages are FREE in limited
quantities, so we advise
you to order them imme-
diately from: SAM SER-
WER, R.C.A. BUILDING,
1250. SIXTH. “AVENUE,
3 ee oe

OFFICIAL O.K.

Get prominent wardens to
comment on picture for
publicity breaks. If pos-
sible have photos taken of
warden looking at film or
reading script. Any en-

‘dorsements from_ prison

officials should be wel-
comed as it adds to offi-
cial atmosphere.

ESCAPE ARTIST

Plant an ‘“‘escape artist”
in your lobby or on your
stage in advance of your
opening. Man gets out of
chains, handcuffs, straight-
jackets, etc. Announce in
all publicity stories. Invite
critics, feature writers and
photographers.

RADIO SCRIPT

Radio drama packed with
thrills, melodrama and ro-
mance and touch of com-
edy is available at no cost.
All the elements of the
picture have been com-
bined for a 15 minute pro-
gram. Script is written for
five principal players and
a number of bit parts. .
Three minutes allowed at
start and end of program .
for theatre and play date

announcements. Free on

request to: —- Campaign
Plan Editor. 321 W. 44th
Sereet, No ¥..C

TIE-UP STILLS

These tie-up stills are
available from Warner
Bros. Campaign Plan
Editor, 321 W. 44 St.,
N. Y. C., at special price
of 75c, per set of nine.

ANN SHERIDAN:

Evening bracelet—AS. 30
Bathing suit, cape, and parasol
AS. Pub. A33

PAT O’BRIEN:

Wrist watch—PO. 108

Briar pipe—PO. 250

Formal evening attire—PO. 127
Golf attire—PO. Pub. A133

BARTON MacLANE:
Lounging robe—-BM. Pub. A7

HUMPHREY BOGART:
Checked jacket, white trousers,
and sport shoes—-HB. Pub. X
Fishing attire—-HB. Pub. A

PUTECUOQUOGEOOUOGUCGEOGEOGUOUEECUOGHOUEGEODEOGEOG GUOUEOUUOGUOGUEGUEGUEGUOGUEGUOGUEGEOGSEQUOQUEQUEGUOGUOGUHGQEGUUGUEGUEGUUGDUEUUOUUGUUOUUCUUEGSECGGUEOQUOGUOQHEQUEQUUQUEQUSUNUGUHOREOQUOQHOGUOGUOGUEQUNGUNONUSUUOUUODNOGHOGUEQUOQUOGUEQUUOUNOUEOQUUG

AND CONTINUES ON NEXT PAGES

HUUUUOUUOODORUCUOUOUCUOUODECEORUUCUOGUUOUEQUCEOROEOUOGEOUOGEUECUORCUCSOGUGHOUEREORGUOUEUEGDORODORSSUEQORLGUGUCUOQUGUGUOUCUEGEOUGUCUEGEGUGUGUGOUGUOUOGUGHEUCDEEDGUGUOUEUEOUCUDOUGEOROGUOOOUEUCUHOUONTUOUCUOGUOUGUDUOUEGUUCUEGUOUCUEDUGUOUEUUGQEQUOUS

PAGE 8 — “SAN QUENTIN” — EXPLOITATION

PUTTING NEW LIFE INTO THEATE

U. $. SHOWMEN have stunted “big-house” pictures

successfully in the past. From the files of widely read

Motion Picture Herald have been culled photos of
most effective stunts, by showmen in different situ-
ations. Also, U. S. showmen prefer to make new
adaptations of ideas already tried and—what’s more
—successful, rather than experiment. To them is
suggested a careful perusal of these pages. No task
then, to put life into their campaigns for “San Quen-
tin.” Granted, most good showmen keep their own

files, and have the leads to pull some keen tricks of

their own. However, these on-the-spot photos serve
1 Evidence of good showmanship is displays of prison and police equipment. The

as reminders. We believe they fit the scheme of Strand Theatre, Akron, Ohio, did a neat job along these lines on “Bullets or Ballots.”
‘ : ; Police and prison officials co-operated in supplying actual implements. You can do the same
things for this picture. with the greatest of ease—no doubt.

5 If they like horror stuff, this display 5 Ball and chain is an
lock step on city’s busy streets. It struck home with San Diego’s citizenry, so our " and the one next to it are highly recom- "old stopper, still at-
guess is, it ought to go over for “San Quentin.” mended. Tie-in contrasting old-time prison tracts gapers. Include it in
methods with today’s scientific methods. display of torture implements.

4 Credit Spreckles Theatre manager Metzger for this one. “Chain Gang’ did

Speeding T@ THE SCREEN.
FRO

M TODAYS ‘HEADLINES. :

10. If you’re in a ‘“‘dese-dem-and-dose”’ neighborhood, it ought to be a 11 Chalk up this to another (un- 12 Ritz Theatre, York, Pa.,
cinch to put-up this front. Prison windows, cutouts, and a ‘“‘prisoner” give known) manager who became a well knows a good catchline
can put it over. They called it
“The PICK of Warner Bros.’_

a medal for this display. for crime headlines and photos. Dynamite Dramas.” —

the authentic touch. Louis Charninsky of one of the many Capitol Theatres gets headline hunter in the local paper morgue

PAGE 9 — “SAN QUENTIN” — EXPLOITATION

E-TESTED STUNTS AND DISPLAYS

y Giant overhead ‘A’ board was a standard display atop Stanley 3. Cover the newsboy front with aprons which they like to wear because they have

Theatre in Philadelphia until they built a new marquee. Made of big change pockets. Warner’s Ohio did more. They bought up a couple hundred
canvas, in sections this one measured 16 x 20 feet and could be seen from newspapers from the boys, imprinted copy across the front page in bold red type: “Extra!
a great distance in all directions. Extra! see ‘San Quentin’ at the Ohio.”

A PICTORIAL REVIEW
OF THE "HOLLYWOOD SCENE’
WITH VIEWS OF THE PICTURES

we Te Be Pi fel oss,
AT THIS THEATRE Soun!

ri Cleveland’s Hipp had 8. If you must be classy, this 9. The stunt that couldn't be missed. Big cell surrounded with picture copy, stills,

“prisoner” with sign oF is a particularly good display wanted dead-or-alive posters, etc., worked up advance interest for this theatre’s
ik we wie to copy. Show 11 x 14 and 22 x 28 showing. Will the manager who did this please take a bow. Prisoner atmosphere for lobby
a traffic stopper. Try it. on large panel and add catchlines. and fronts are “can’t miss”’ selling aids.

3 No sitdown striker he. 14 Comparatively staid N. Y. Strand can offer many good suggestions on what’s new on the theatre front. Manager
" Pulled by Keith’s, Salt Lake
City. The fur coat and radiator are

MUSTS for a sure-stopper. Time:
Any hot day. stills and punch-packed advertising copy.

“Zeb” Epstein designed this display. It has plenty of socko and still maintains the Strand distinctiveness. Notice the

use of a goodly number of blow-ups and bold selling lines. Same striking stuff can be garnered from “San Quentin’s” action

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PAGE 12 — “SAN QUENTIN” — PICTURE STRIP

First of a series of story pictures adapted from “San Quentin”,
A First National Picture starring Pat O’Brien, Humphrey Bogart,
Ann Sheridan, Barton MacLane. Coming to the Strand Theatre.

Captain Stephen Jameson (Pat O’Brien) of the United States
Army is temporarily assigned as Captain of the Yard at San
Quentin Prison. . . . On the last night before going to his
new work he visits a San Francisco night club and falls in
love with a beautiful blues singer, May Kennedy (Ann Sheri-
dan). Since she expresses her hatred of all detectives and
cops he thinks best not to tell her he is bound for San
Quentin, thinking she will never know.

May is called from the room by her brother, ‘Red’ Kennedy
(Humphrey Bogart)—who has already served a term for burg-
lary. She gives him money on his plea that he needs it to get
away to a new job. ... Police recognize Red and arrest him. As
he is to be taken to San Quentin, Captain Jameson tries to com-
fort May but still keeps secret the fact that her brother will be
one of the prisoners under him.

At San Quentin, Captain Jameson calls for
Red and suggests that he try to go straight
for his sister’s sake. Red snarls his refusal as
he is dismissed. Druggin (Barton MacLane),
whose job Jameson has taken, lurks sulkilly,
and tries to formulate a plot which will re-
flect discredit on Jameson.

May (Ann Sheridan) visits her brother
Red (Humphrey Bogart) in San Quen-
tin, giving him money at his urgent
request. A guard sees her do this and
reports to the disgruntled Druggin
(Barton MacLane)—who at once hus-
tles her to the new Yard Captain.

After seeing the bravery of Captain
Jameson (Pat O’Brien) in saving the
lives of the convicts, Red (Humphrey
Bogart) listens to his boss’s earnest
plea that he begin to make over his
life, for his sister’s sake and his own.

(2nd Day of Picture Story )

When May finds out that the Captain of the Yard is Captain
Steve Jameson she is angered that he has not told her that
he is over her convict brother—and leaves telling him she
never wishes to see him again. Druggin, who has held a
grudge against Jameson because he has taken his job in the
prison—takes note of the acquaintance between his boss and
Red’s sister—and stores it up for future deviltry.

For May’s sake, Jameson takes an interest in Red and tries to induce
him to obey rules—learn a trade—and go straight. All these advances
Red scorns, believing Jameson to be yellow. One day, however, a
crazed convict gets hold of a gun and causes a prison riot. The lives
of the men are saved by the cool courage of Jameson—who calms
the madman—gets the gun—and quells the crowd. Red dully marvels
at this thrilling display of bravery.

(3rd Day of Picture Story)

In the short periods of recreation, while engaged in an in-
nocent game of dominoes with one of the real bad actors of
the prison, Sailor Boy (Joseph Sawyer), Red hears his plans
of getting into the road gang and escaping—but refuses to
have any part of it. Red means, he says, to finish his stretch
—and be a free man for the rest of his life.

When one of the convicts razzes Red about the joke that was played
on him by the gang when he first came to jail—Red is about to fight
him—but Sailor Boy—in the role of his best pal is quick to step
between—and when the guard appears—to explain that they were
only kidding. In secret, Sailor Boy keeps on hammering at Red mak-
ing a play for the road gang and a getaway.

| td

SAN
QUENTIN
=" °BRIEN

HUMPHREY

92 Lines

75 Lines

MacLANE

A First National Picture °»
Directed by Lloyd Bacon. -
Presented byWarner Bros.)

ia Roe

Mat No. 101—10c

? ANN SHERIDAN
Barton MacLANE

A First National Picture
Directed by Lloyd Bacon

Mat No. 104—10c

PAGE 13 — “SAN QUENTIN’ — ADVERTISING

_action and amazing new
thrills as Warner Bros.
bring you sensational drama

: from behind the walls of

Hear lovely Ann
Sheridan sing the
song she placed
at the top of the
Hit Parade, ‘HOW
COULD YOouU?’!

Ys

THEATRE

357 Lines

Mat No. 301—30c

PAGE 14 — “SAN QUENTIN” — ADVERTISING

THEY FOUGHT FOR LOVE OF A DAME
...AND THE HATE OF EACH OTHER!

IT’S EASIER TO FIGHT TEN
PRISON RIOTS THAN
TAME ONE DIZZY DAME!
That’s what trouble-
shooter Pat finds out
when he meets a gal
who wouldn’t be
kissed ... and a guy
whocouldn’t be licked!

A warner Bros. Thriller !

HUMPHREY

BOGART

BARTON MacLANE

Directed by Lloyd Bacon

PAT
O’BRIEN
ANN SHERIDAN

A First National Picture

102 Lines Mat No. 202——20c

57 Lines Mat No. 103—10c

‘IT’S DYNAMITE ALL THE WAY!

282 Lines Mat No. 302—-30c

PAGE 15 — “SAN QUENTIN’ — ADVERTISING

What a tame lif
TAMING GUN-MAD Ki

HUMPHREY

BUGART |

ANN SHERIDAN
Breton MicLANE

A First National Picture
Directed by Lloyd Bacon
Presented by Warner Bros.

ba
258 Lines Mat No. 303—30c

a ND THE BURNING HATE OF EACH OTH eRe

~ Action to Startle: you! «Romance. to’ thrill you! Suspense to leave
you breathless . . . as drama charges: at you from behind the walls of

‘SAN QUENTIN

PAT A Warner Bros.’ thriller, starring

‘IT'S EASIER of
TO FIGHT TEN
PRISON RIOTS:
THAN TAME ONE

DIZZY DAME!’

HUMPHREY

Bogart looks
~ for trouble
he finds it...
spelled P-A-T!

HUMPHREY

HEAR charmful
Ann Sheridan
sing the song she

ANN SHERIDAN> BARTON MacLANE poten one

A First National Pictures Directed by Lloyd Bacon COULD You?!

ANN SHERIDAN
Barton MacLANE

AFirst National Picture
Directed by Lloyd Bacon

64 Lines Mat No. 102—10c 134 Lines Mat No. 207—20c

PAGE 16 — “SAN QUENTIN” — ADVERTISING

MEET PAT O'BRIEN ...

THE TAME GUY!

He has to tame a prison full of
rioting men...to tame an armful of
darling dynamite. It’s the hit of his
fast - fighting, hard-loving career!

THEY FOUGHT FOR LOVE OF A DAME
... AND THE HATE OF EACH OTHER

54 Lines Mat No. 211—20c

iy

244 Lines Mat No. 201—20c

Get set for red-blooded :
and amazing new

Hear lovely Ann
Sheridan sing the
song she placed
at the top of the
Hit Parade, ‘HOW
COULD YOU?7"!

THEATRE

158 Lines Mat No. 203—20c

PAGE 17 — “SAN QUENTIN” — ADVERTISING

“IT'S EASIER TO FIGHT. TEN PRISON
RIOTS... THAN TAME ONE
DIZZY DAME!”’’

52 Lines | Mat No.-210—20c

EACH ©
WGEROUS THEIR HATRED FOR THE
PARILLING THEIR LOVE FOR ONE BEALEIEUL G Rr

A First National Picture
Directed by Lloyd Bacon

164 Lines Mat No. 205—20c

192 Lines

Mat No. 206—20c

PAGE 18 — “SAN QUENTIN” — ADVERTISING

eee ee

108 Lines Mat No. 204—20c

JUST TWO TOUGH GUYS *
TRYING TO. GET AHEAD
. +» OF EACH OTHER!

HE TAMES CONVICT RIOTS FOR BUSINESS!
HE TAMES DIZZY DAMES FOR PLEASURE!

IT’S DYNAMITE ALL THE WAY!

ANN SHERIDAN
i Barton MacLANE

A First National Picture
Directed by Lloyd Bacon
Presented by Warner Bros

ANN SHERIDAN - Barton MacLANE

A First National Picture +Directed by Lloyd Bacon* Presented by Warner Bros,

ith
ANN SHERIDAN - Barton MacLANE

AFirst National Picture+ Directed by Lloyd Bacon Presented by Warner Bros.

39 Lines Mat No. 110—10c 18 Lines Mat No. 111—10c 34 Lines Mat No. 109—10c

40x 60 Rental
HOTO
GELATIN 75c

£& ak
Wy Fiqgavtene Pe Ea

THREE-SHEET

Renee... te... eis a,

RENTAL ..___.

INSERT CARD

RENTAL... . . Gohae ea,

SIX-SHEET

2 eee C8,
SPECIAL QUANTITY PRICES

ONE-SHEETS
DO=tO. 99) te rere a i lle ea.
100 & over... Pile Rae ae atest « 9c ea.

THREE-SHEETS
Bt hee i eee ps re a 32c¢ ea.
URS gat oe ae ek ae ee 28c ea.

SIX-SHEETS

ES re ee A 80c ea.
De ee a eee ae eee oe 70¢ ea.
LOO @Go overncjsaite eee: eee inne or) 60c ea.

COLORED
22 x 28's
RENTAL: 20c EACH

ONE-SHEET
RENTAL *.8 (2.2). 3 eiee,

This snappy colorful showman’s herald has
the clever catchlines and seat selling art
exhibitors need for a really complete cam-
paign on this picture. Entire reverse side has

9X 12 LITHO

through the mail, and as a program.

24” x 82”

(also available in size 24” x 60”)

Write directly to:

AMERICAN DISPLAY COMPANY, ING., 525 West 43rd

8 x 10

COLOR-GLOS PRINTS
Rental

9c each

Come in sets of 10 assorted scenes.
May be rented singly.

COLORED 11 x14's
&

SET OF 8

Rental: 35¢c

PRICES:

$2.25...PER M

been left blank leaving enough room for For
o r i A L D both your imprint and tie-up ads. Give this
herald wide distribution in stores, packages,

5M or over

$2.50...PER M

LOBBY DISPLAYS

Alert showmen are everlastingly on the
lookout for opportunities to express
their individuality in showmanship. The
wide range of display accessories avail-
able thru our display plan gives you a
most complete expression to your
showmanship selling campaign.

Drop us a postcard today. Let us tell
you how your theatre can have these
displays at a reasonable weekly rental
fee.

40” x 60”

(also available in size

30” x 40”)

Street, New York Gity

For less than 5M

PLTRAEL, 2090,
present?

in brilliant colors

? 4 ss S 4 & E Beautifully lithographed Pp R i Cc [= S ead $2.40 ea.

DULOmOn ae oe $2.25 ea.

VOste 24.5) 3.3 $2.00 ea.

25 and over

HUMPHREY BOGART BARTON MacLANE PAT O’BRIEN

11” X 14” COLOR-GLOS Pre eee oe
AUTOGRAPHED STAR PORTRAITS Meh mi oee eS c

OTHER WARNER STARS AVAILABLE IN 11” x 14” COLOR-GLOS STAR PORTRAITS ARE:

MARION DAVIES FERNAND GRAVET BORIS KARLOFF GEORGE BRENT ANITA LOUISE

LESLIE HOWARD JOAN BLONDELL CLAUDE RAINS MARGARET LINDSAY BILLY & BOBBY MAUCH
DICK POWELL EDWARD G. ROBINSON BEVERLY ROBERTS FRANK McHUGH arcane i

PAUL MUNI BETTE DAVIS JUNE TRAVIS GLENDA FARRELL KAY FRANCIS

RUBY KEELER HUGH HERBERT OLIVIA de HAVILLAND JOSEPHINE HUTCHINSON ERROL FLYNN

THEATRE IMPRINT

A GEIB. HS caries, Hebe

REGULAR WINDOW CARD
PRICES: 1 to 49—Tc ea.; 50 to 99—c ea.:
2 elgg Sel 5 Maan en, ee anil apn ease enters

MIDGET WINDOW CARD

aries room
PRICE: niece rae dae sae ee mae, Dosa pane

oS Lint

YOU'VE
GOT
SOMETHING

IG

bor months weve been concentrating on a Campaign
Plan for “They Won't Forget.” One that would loom in point-
of-use and fidelity in scope which lives in the picture. We ve
never been stymied in our efforts, because this picture is
fertile with advertising, publicity and promotion possibili-
ties; because it has what it takes to get people talking—and
keep them discussing it! We believe we have charted the

right course. And to further help you, we will issue a

2w EDITION-THEATRE SUPPLEMENT

containing results of actual campaigns conducted by theatres in various situ-

ations. Ask to be placed on the mailing list for this worthwhile special edition.

Another Warner Bros. FIRST in Exhibitor Service

Scanned from the United Artists collection at the
Wisconsin Center for Film and Theater Research,
with support from Matthew and Natalie Bernstein.

for Film and Theater Research

http://wcftr.commarts.wisc.edu

MEDIA
HISTORY

DIGITAL LIBRARY

www.mediahistoryproject.org